Johnny Mercer may have played a bigger role in Frank Sinatra's revitalization of his career than people may know, as Julius La Rosa notes:

I don't know this with certainty, but I suspect that Johnny Mercer was the force in the restoration of Sinatra's career. In addition to being a great lyricist — some think he was our greatest of all — Mercer was an astute gentleman. He was also president of Capitol records, which he had founded with fellow songwriter Buddy De Sylva. Mercer was one record-company head who really knew what he was hearing.

And I think Mercer recognized Sinatra's as-yet untapped . . . genius. I don't think the word is an exaggeration. What John Gielgud was to Shakespeare, Sinatra was to the American song. We discovered him with Dorsey, he proved we were right about him at Columbia, and from his very first recordings for Capitol we realized, if we hadn't done so already, that we had a giant on our hands. Nelson Riddle recognized it. Songs for Young Lovers is still my favorite album. Riddle is credited rightly for recognizing the depth of Sinatra's musical instincts. He appreciated Sinatra's intelligence and, I guess, understood his temperament. His arrangements for those early Capitol albums are masterpieces, one after another. And the mature Sinatra was revealed. The ballads are touching, heartbreaking even, and the sense of identification is incomparable. In the reprise of My Funny Valentine when he sings "But donnnnn't change a hair for me ..." oh, the pain. And rhythm songs now were fun. "I get a kick . . . mmmm, you give me a boot!" Cole Porter may not (I would assume) have liked the interpolation, but everyone else did.